RSITY  OF  CALIFORNIA.  SAN  DIEGO 


3  1822022100283 


01 

7 


LOR   BALANCE 


California 
ional 
cility 


ILLUSTRATED 


A.  H,  MUNSELL 


Social  Sciences  &  Humanities  Library 

University  of  California,  San  Diego 
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Copyright  1907  by  A.H.  Munsell. 


COLOR  BALANCE 
ILLUSTRATED 

AN   INTRODUCTION  TO 
THE    MUNSELL    SYSTEM 


BOSTON 

OP   GEO.  H.  ELLIS    CO. 

1913 


FOREWORD. 


This  brief  introduction  refers  by  many  a  foot-note  to  more  com- 
plete statements  in  a  larger  book,  giving  a  detailed  account  of  the 
system,  with  reproductions  of  beautiful  work  in  measured  color, 
which  children  have  made  in  the  graded  course  of  study.* 

Beauty  of  color  flows  from  balance  and  measure.  Tempered 
sensations — not  extremes — are  the  source  of  refined  pleasure, 
and  in  this  system  the  crude  extremes  of  red,  yellow,  and  blue 
which  make  the  bill-poster  hideous  are  replaced  by  those  moder- 
ate degrees  of  color  which  abound  in  the  best  decorative  and 
fine  art.  Later,  when  the  principle  of  balance  is  well  understood, 
the  measured  charts  of  the  Atlas  f  teach  the  proportion  by 
which  small  accents  of  strongest  color  may  balance  large  fields 
of  quiet  chroma.  A  color  sense  thus  trained  by  accurate  scales 
instead  of  the  prevalent  guesswork,  develops  fine  discriminations. 

These  model  lessons  have  been  tested  by  teachers  of  long 
experience,  and  when  accompanied  by  the  Color  Sphere,  Color 
Tree,  Color  Atlas,  and  special  materials  designed  for  the  study, 
they  cannot  fail  to  strengthen  the  color  thought  and  build  a  com- 
plete image  of  all  color  relations. 

A.  H.  M. 
CHESTNUT  HILL,  MASS.,  1913. 

*  "A  Color  Notation."     Munsell.     Boston,  1907.     Geo.  H.  Ellis  Co. 

t" Atlas  of  the  Munsell  Color  System."  Boston:  Wadsworth,  Rowland  Co.,  who 
also  make  the  illustrative  models,  balls,  spheres,  cards,  crayons,  and  water  colors  specially 
devised  for  thia  work. 


CONTENTS. 


PAGE 

FOREWORD 2 

BALANCE  AND  UNBALANCE  OF  COLOR 4 

THREE  COLOR  QUALITIES  AND  THEIR  SCALES 5 

A  COLOR  SPHERE  UNITES  HUE,  VALUE,  AND  CHROMA 6 

NEIGHBORS  AND  OPPOSITES  IN  COLOR 7 

THREE  WAYS  TO  CORRECT  UNBALANCE 8 

A  COLOR  TREE  MEASURES  ALL  COLOR  RELATIONS 11 

QUESTIONS  AND  THOUGHTS  FOR  THE  TEACHER 12 

OUTLINE  OF  THE  COURSE  OF  STUDY 15 

FIRST  YEAR  PLAN  AND  A  MODEL  LESSON  ABOUT  RED 16 

REVIEW:  FIVE  MIDDLE  COLORS  BALANCED 20 

MODEL  LESSONS  FOR  SUCCEEDING  GRADES 22 

AFTERWORD  ....  .32 


COLOR  BALANCE  ILLUSTRATED 


BALANCE  AND  UNBALANCE  OF  COLOR. 


In  a  paint-shop  the  eye  becomes  so  confused  and  wearied  by 
a  disordered  variety  of  discordant  colors  that  it  gladly  finds  relief 
in  a  patch  of  quiet  gray.  Similar  relief  for  the  ear  is  wittily  de- 
scribed by  Dr.  Holmes  when  "silence  like  a  poultice  comes  to  heal 
the  blows  of  sound."  As  a  timely  escape  from  its  opposite  ex- 
treme, we  welcome  silence,  but  by  no  means  would  we  wish  it 
perpetual,  for  musical  pleasure  lies  in  a  balance  between  no  sound 
and  too  much  sound.  So  the  eye  enjoys  a  balance  between  excess 
of  color  and  its  absence,  and,  when  the  mind  is  satisfied  by  the 
relations  of  light  and  color,  we  call  the  result  beautiful. 

Nature  seems  bent  upon  the  preservation  of  this  balance.  She 
alternates  sunshine  and  shadow,  fiery  sunset  and  gray  day,  yellow 
sand  and  purple-blue  sea,  teaching  a  great  law, — that  only  as  small 
accents  should  strong  colors  be  used  to  balance  wide  fields  of  grayer 
color. 

This  seems  simple  enough  as  a  broad  statement,  but  grows 
complex  as  soon  as  we  learn  that  a  color  is  not  the  simple  hue  it 
appears  to  the  eye,  but  a  variable  union  of  three  qualities  which 
the  thought  must  separate  and  judge.  Let  us  at  once  define  these 
three  qualities  so  clearly  that  they  may  never  be  confused,  using 
a  color  sphere  (Plate  I.). 


COLOR  BALANCE  ILLUSTRATED 


THREE    COLOR    QUALITIES    AND    THEIR    SCALES. 


Color  has  three  qualities:  HUE,  VALUE,  and  CHROMA  (see 
page  9). 

HUE  is  the  name  for  a  color,  but  not  its  value  or  chroma.  The 
names  and  their  order  in  a  scale  of  hue  are  easily  learned  if  one 
calls  the  thumb  red,  forefinger  yellow,  middle  finger  green,  third 
finger  blue,  and  little  finger  purple,  between  which  come  yellow- 
red  (orange),  green-yellow,  blue-green,  purple-blue,  and  red- 
purple.*  These  mark  ten  regular  steps  in  a  scale  of  hues  spaced 
about  the  equator  of  a  sphere.  H.,  Hue:  horizontal  color  change. 

VALUE  is  the  light  of  a  color,  but  not  its  hue  or  chroma.  With 
white  at  the  top  of  a  sphere  and  black  at  the  bottom,  the  axis  is 
imagined  as  a  vertical  scale  of  neutral  grays  from  0  (black)  to  10 
(white),  with  5,  or  middle  value,  at  the  centre.  Each  hue  on  the 
equator  is  also  graded  by  the  same  ten  steps  of  value,  often  called 
tints  and  shades.  F.,  Value:  vertical  color  change. 

CHROMA  is  the  strength  of  a  color,  but  not  its  hue  or  value. 
Gray  added  to  red  weakens  its  chroma,  and  the  red  on  the  equator 
of  the  sphere  may  be  thus  "grayed"  in  five  equal  steps  to  the 
neutral  centre.  Five  stronger  steps  are  outside  the  sphere,  mak- 
ing a  chroma  scale  from  strongest  red  (10)  to  no  red  at  the  axis, 
with  "middle  red"  at  the  surface.  When  middle  gray  is  added  to 
red,  it  does  not  change  its  hue  (scarlet  or  crimson)  nor  change  its 
value  (lighter  or  darker) :  it  only  draws  red  in  toward  the  neutral 
axis,  which  is  loss  of  redness  or  chroma.  As  red  escapes  from 
gray,  it  grows  to  strongest  chroma,  loosely  called  pure,  or  intense. 
C.,  Chroma:  centrifugal  color  change. 

*  See  "Color  Notation,"  Chapter  III.,  The  Hand  as  a  Color  Holder. 


COLOR  BALANCE  ILLUSTRATED 


To  omit  one  of  these  three  qualities  in  describing  a  color  is  like 
stating  the  size  of  this  room  by  two  dimensions  and  ignoring 
the  third,  which  leaves  a  vague  and  varying  impression  with 
each  person.  Thus  viridian  paint  is  called  a  "shade  of  green" 
(green  hue  and  dark  value),  but  that  gives  no  hint  of  its  chroma, 
which  may  be  weak  or  strong,  while  the  same  word  is  used  for 
a  change  of  hue,  as  "this  green  shades  on  the  blue."  To  avoid 
confusion,  we  must  define  viridian  by  stating  where  it  stands  in 
the  scales  of  hue,  value,  and  chroma,  which  are  combined  in  the 
color  sphere.  Until  this  is  done,  the  color  is  not  clearly  before  our 
thought,  nor  can  we  make  it  clear  to  others.* 

A    COLOR    SPHERE    UNITES    HUE,    VALUE,    AND 
CHROMA,  f 

(See  Plate  I.  and  page  9.) 


The  equator  of  a  sphere  serves  for  a  scale  of  hue,  its  vertical  axis 
for  a  scale  of  value,  and  a  perpendicular  to  the  axis  for  a  scale  of 
chroma.  The  north  pole  is  white,  the  south  pole  black.  Middle 
gray  is  at  the  centre  of  the  sphere,  and  middle  colors  at  the  same 
level  on  the  surface.  These  middle  colors  are  graded  by  regular 
steps  of  value  to  white  and  black  on  a  large  sphere  for  the  teacher, 
and  on  a  smaller  model  for  children.  Slowly  revolved,  these 
colors  give  a  beautiful  sequence  that  delights  the  eye,  and,  if  rap- 
idly spun,  they  all  melt  into  neutral  gray.  This  proves  their 
perfect  balance,  for,  were  any  hue  too  strong  or  too  weak,  it  would 
destroy  balance,  making  a  colored  gray.  In  handling  this  simple 
model,  the  child  gains  an  unconscious  grasp  of  color  measure, 
and  balance,  without  the  least  allusion  to  color  theory. 

*  See  Chapter  I.  and  Appendix  in  "Color  Notation"  for  "misleading  color  terms." 
t  See  Chapter  II.  for  the  color  sphere  and  tree. 


COLOR  BALANCE   ILLUSTRATED 


NEIGHBORS  AND  OPPOSITES  IN  COLOR. 

(See  page  9.) 


An  amusing  game  will  fix  these  relations  in  mind  if  the  teacher 
furnishes  conical  finger-caps  representing  the  five  middle  colors. 
These  may  be  cut  from  sheets  spread  with  water  colors  or  special 
crayons.*  The  red  cap  is  placed  on  the  thumb  (see  page  5),  yellow 
on  forefinger,  green  on  middle  finger,  blue  on  ring  finger,  and 
purple  on  the  little  finger,  f 

In  grouping  three  hues,  it  is  well  to  use  neighbors  for  likeness 
and  opposites  for  contrast,  the  former  serving  to  soothe  the  eye 
and  the  latter  to  excite  it.  Thus  yellow  and  purple  are  the 
neighbors  of  red  (forefinger  and  little  finger),  while  the  spaces 
between  them  are  its  close  neighbors,  yellow-red  (alias  orange) 
and  red-purple.  Closing  down  or  taking  off  the  caps  of  two 
neighbors  of  red,  there  remain  its  two  opposites,  blue  and  green 
(the  middle  and  ring  fingers),  between  which  lies  its  exact  oppo- 
site, blue-green.  This  game  may  be  played  with  each  finger  in 
turn  until  all  the  groups  are  memorized. 

The  contrasts,  or  opposites  (called  complements),  are: — 

RED  and  BLUE-GREEN 

YELLOW  and  PURPLE-BLUE  (ULTRAMARINE) 

GREEN  and  RED-PURPLE 

BLUE  and  YELLOW-RED  (ORANGE) 

PURPLE  and  GREEN- YELLOW 

*  The  five  middle  colors  are  made  both  in  crayons  and  water  color. 

tSee  Chapter  III.  of  "Color  Notation,"  and  note  that  green  is  not  the  complement  of 
red,  as  wrongly  taught  by  Froebel  balls  and  a  three-color  box. 


COLOR  BALANCE  ILLUSTRATED 


THREE  WAYS  TO  CORRECT  UNBALANCE. 


When  first  seen,  the  middle  green,  blue,  and  purple  of  the 
sphere  are  not  unfamiliar,  but  middle  red  and  middle  yellow  seem 
strange,  because  the  extreme  red  and  yellow,  popularly  taught, 
have  much  stronger  chroma  than  their  fellows.  It  is  an  educational 
blunder  to  ignore  this  fact,  which  the  charts  of  the  Atlas  not  only 
prove,  but  also  help  to  correct  by  their  written  symbols.  Colors 
of  such  unequal  strength  may  be  brought  to  a  balance  in  three 
ways  (see  opposite  page). 

(a)  The  stronger  of  two  colors  may  be  grayed  until  both  are  of 
equal  chroma.  Thus  middle  red  and  middle  blue-green  are  bal- 
anced, being  of  equal  value,  chroma,  and  mass. 

(6)  A  lighter  color  may  balance  a  darker  when  equally  removed 
from  the  neutral  gray  centre.  Dark  red  and  light  blue-green  of 
equal  chroma  will  balance  if  equally  above  and  below  middle  gray, 
and  of  equal  mass. 

(c)  A  larger  area  of  one  color  may  balance  a  smaller  area  of 
another  if  its  chroma  be  weakened  to  the  proportion  indicated 
by  the  symbols  printed  on  the  charts,  or  the  stronger  color  may 
retain  its  chroma,  but  be  proportionally  diminished  in  area. 
Thus  a  small  area  of  the  strongest  yellow  will  balance  a  large  area 
of  weak  purple-blue  (ultramarine).  This  is  a  balance  of  unequal 
strength  and  light  by  compensation  of  quantity.  Nature  illustrates 
this  by  the  spot  of  a  brilliant  sunflower  against  a  background 
of  gray-blue  sky,  or  a  purple  aster  against  the  large  sunlit  field  of 
yellow-green,  and  countless  examples  appear  in  gems,  insects, 
butterflies,  and  birds.* 

*  See  page  44  of  "Color  Notation"  for  balancing  point  of  color. 


COLOR  BALANCE   ILLUSTRATED 


White 


Palette  NeigHtors  8e 

OpposVfes 


Three  Color  Scales 

unite 
in  a.  Sphere 


Balance 


Balance 

a.   Bxj  equality  o|  chroma, 
value  Mid  mass: 

t    BJJ  e^ual  departure  jrmn 
•neutral    gray: 

c    Bij  compensation    oj 
to  correct  unequal 
value  and  chroma. 


10 


COLOR  BALANCE  ILLUSTRATED 


The  COLOR  TREE 

AND 


COLOR  BALANCE  ILLUSTRATED  11 


A  COLOR  TREE  MEASURES  ALL  COLOR  RELATIONS. 


The  color  sphere  can  be  no  larger  than  its  weakest  blue-green 
paint,  viridian,  which  is  only  half  the  strength  of  red  vermilion, 
and  the  other  colors  will  project  beyond  the  surface  in  proportion 
to  their  chroma,  as  shown  in  the  drawing  opposite,  with  its  four 
corner  diagrams. 

The  irregular  projections  of  this  Color  Tree  describe  the  uneven 
light  and  strength  of  colors:  thus  yellow  is  near  white,  but  as 
strong  as  the  dark  purple-blue,  which  is  near  black;  while  the  red, 
which  is  strongest  of  all,  has  for  its  opposite  the  blue-green,  which 
is  weakest.  Ten  threads  are  drawn  from  black  to  white,  each 
tracing  a  single  hue  in  all  its  values,  while  each  of  the  three  hori- 
zontal slices  contains  the  ten  hues  at  a  single  level  of  value  with 
all  their  chroma  steps  to  gray  of  that  level.  These  are  worked 
out  in  solid  oil  paint  in  the  charts  of  the  Color  Atlas,  and  indicate 
the  proportions  needed  to  make  balance.  A  model  of  this  Color 
Tree*  is  supplied  to  aid  the  imagination  of  those  who  find  its 
irregular  form  difficult  to  realize. 

Prismatic  color  differs  greatly  from  pigments,  both  in  its  qual- 
ities of  value  and  chroma,  and  its  behavior  when  mixed.  Its  spec- 
tral hues  add  their  light  when  mixed,  as  in  the  case  of  red  and 
green,  which  unite  to  form  a  yellow  twice  as  luminous;  but  a  mixture 
of  red  and  green  paint  makes  a  weak  yellow-gray,  as  shown  by 
a  line  joining  them  on  the  charts  of  the  Atlas.  An  explanation 
of  this  will  be  found  on  page  51  of  "Color  Notation." 

*See  Appendix  to  Chapter  II.  of  "Color  Notation,"  and  note  that  lithographic  inka 
used  in  Plate  I.  reverse  the  chroma  of  blue  and  green. 


12  COLOR  BALANCE  ILLUSTRATED 


QUESTIONS  AND    THOUGHTS    FOR    THE    TEACHER. 


Why  is  the  training  of  the  color  sense  left  so  much  to  guesswork 
and  accident? 

"I  don't  know  much  about  color,but  I  know  what  I  like,"  is  often 
heard,  and  many  who,  without  chart  or  compass,  brave  the  sea  of 
color  daily,  refuse  to  recognize  the  cause  of  their  blunders,  although 
willing  to  acknowledge  ignorance  in  other  lines.  Haphazardly  they 
pick  up  loose  notions,  which  fail  when  put  to  a  test. 

Music  is  definitely  taught,  but  color  remains  vague.  Color 
guesses  are  loose  and  fluctuating:  they  should  be  corrected  by 
measured  scales,  so  as  to  free  the  mind  from  false  tradition  and 
lead  to  straight  color  thinking.  To  see  and  feel  color  is  not 
enough,  for  an  idiot  may  see  it,  but  does  not  think  about  it,  and, 
in  order  that  the  thought  may  lay  hold  on  color,  we  must  have 
a  definite  method.  To  illustrate  this,  take  a  painter's  palette  and 
mahl-stick  (see  page  9).  From  a  host  of  paints  let  us  choose  a 
few,  and  place  them  around  the  palette's  rim.  Some  are  dark, 
like  blue,  and  others,  like  yellow,  very  light,  but,  mixing  some  of 
each,  we  may  make  a  middle  gray.  Placing  this  gray  at  the 
middle  of  the  stick,  we  may  lighten  it  to  white  at  the  top  and 
darken  it  to  black  below:  then,  supposing  a  sphere  to  enclose 
both  stick  and  palette,  the  colors  on  the  latter's  rim  may  be  graded 
upward  to  white  and  down  to  black.  This  is  the  germ  of  the  color 
sphere  and  its  measured  scales. 

*  Those  who  would  rather  practise  than  reason  about  color  may  pass  at  once  to  the  model 
lessons  (page  16),  although  a  method  of  thought  here  suggested  might  save  them  from  "im- 
modestly smearing  from  muddled  palettes,  amazing  pigments  mismated  "  (Kipling). 


COLOR  BALANCE  ILLUSTRATED  13 

How  does  this  system  differ  from  others? 

It  starts  in  the  middle  of  color,  not  at  the  extremes.  These 
middle  colors  are  named,  imitated,  and  memorized,  then  sought 
in  one's  surroundings,  and  thus  form  a  threshold  from  which  the 
thought  may  range  by  uniform  scales  to  white  and  to  black, — to 
strongest  chroma  and  to  neutral  gray.  Measure  and  balance  are 
thus  learned  without  any  attempt  to  explain  theory,  and  lead  to 
skill  and  good  taste  in  the  use  of  color.  This  puts  science  under 
the  art  of  design  instead  of  whim,  accident,  and  the  vagaries  of 
personal  assertion;  while  the  Sphere,  Atlas,  and  Tree  build  a 
stable  image  of  all  color  relations,  essential  in  every  line  of  work, — 
artistic,  scientific,  or  industrial. 

Why  begin  with  such  quiet  colors,  if  the  child  craves  the  strongest 
obtainable? 

A  child  craves  many  things  beyond  his  control,  and  they  are 
wisely  withheld  until  he  is  trained  to  their  proper  use.  Long 
training  and  experiment  teach  the  colorist  how  to  use  even  the 
strongest  colors  so  as  to  preserve  a  pleasing  balance,  but  the 
novice  cannot  fail  to  blunder  and  misuse  them.  We  have  grown 
up  in  a  bad  tradition  that  the  strongest  red,  yellow,  and  blue 
paints  are  "primary,"  which  teaches  a  false  idea  of  balance,* 
ignores  the  fundamental  action  of  the  eye,  and  refutes  the  wisdom 
shown  in  every  other  form  of  sense  training,  where,  to  introduce 
the  study  of  music,  motion,  or  speech,  extreme  stimuli  are  never 
used.  Instead  of  extremes  we  seek  moderate  and  tempered 
relations,  convinced  that  they  are  the  basis  of  beauty. 

This  is  true  in  both  fine  and  decorative  uses  of  color,  and  may  be 
proved  easily  in  any  museum  of  art.  Take  in  one  hand  the  un- 

*  See  Appendix  to  Chapter  III.  of  "Color  Notation." 


14  COLOR  BALANCE  ILLUSTRATED 

balanced  maxima  and  in  the  other  the  balanced  middle  colors  of 
the  sphere,  and  it  becomes  evident  that  the  latter,  with  their 
neighbors,  recur  constantly  in  the  most  beautiful  examples,  while 
the  maxima  are  absent  or  only  admitted  as  small  accents. 

Gaudy  colors  are  avoided  by  persons  of  good  taste.  They 
"clash,  howl,  and  swear,"  and  belong  to  the  circus  rather  than 
the  home;  and,  since  first  impressions  are  lasting,  children  should 
not  be  exposed  to  such  crude  and  unbalanced  effects,  which  must 
delay,  if  they  do  not  destroy,  the  feeling  and  love  for  beautiful 
color.  * 

The  lessons  which  follow  have  been  tested  in  the  school-room, 
and  are  economic  of  time.  They  train  the  appreciation  of  color 
by  simple,  progressive  steps  that  may  be  accurately  described, 
intelligently  taken,  and  clearly  criticised  by  both  pupil  and  teacher. 
They  discard  the  hazy  statements  which  have  proved  so  mis- 
leading in  the  past  and  whose  further  retention  in  the  teaching 
of  color  can  be  due  only  to  mental  inertia  or  ignorance. 

*  See  Plates  II.  and  III.  of  "Color  Notation." 


COLOR  BALANCE  ILLUSTRATED 


15 


A   COLOR  SYSTEM  AND   COURSE   OF   STUDY 

BASED  ON  THE  COLOR  SOLID  AND  ITS  CHARTS, 
ADAPTED    TO    NINE    YEARS    OF    SCHOOL     LIFE. 

Grade.     Subject. 

Colors  Studied. 

Illustration. 

Applica- 
tion. 

Materials. 

1. 

HUES 
of  color. 

Red.           R. 
Yellow.      Y. 
Green.        G. 
Blue.           B. 
Purple.        P. 

Sought  in 
Nature 
and  Art. 

Borders 
and 
Rosettes. 

Colored 
crayons 
and 
papers. 

2. 

HUES 

of  color. 

Yellow-red.        YR. 
Green-yellow.    GY. 
Blue-green.        BG. 
Purple-blue.       PB. 
Red^purple.         RP. 

Sought  in 
Nature 
and  Art. 

Borders 
and 
Rosettes. 

Colored 
crayons 
and 
papers. 

3. 

VALUES 

Light,  middle,  and  dark  R. 

::     ::     ',:    '.'.  1: 

Sought  in 
Nature 
and  Art. 

Design  . 

Color 
sphere. 

4. 

VALUES 
of  color. 

5  values  of  YR.  \ 
"       "      "  BG!  >•  V.V,1. 

Sought  in 
Nature 
and  Ait. 

Design. 

Charts. 

5. 

CHROMAS 
of  color. 

3  chromas  of  R-. 

::    ::    :g 

'  p*. 

Sought  in 
Nature 
and  Art. 

Design. 

Charts. 

6. 

CHROMAS 
of  color. 

3  chromas  of  YR6. 
GYa. 
BG6. 
PB*. 
RP6. 
R*  and  R3.  ^ 
Y*    "    Y».  f 
G*    "    G3.  > 
BI    "     B*.  C 
PL    ••     pa.  ) 

Sought  in 
Nature 
and  Art. 

Design. 

Color 
Tree. 

7. 

To  OBSERVE 
IMITATE  color  by  HUE,  VALUE,  and  CHROMA     "                           Paints. 

&  WRITE 

8. 

QUANTITY  of  color. 
Pairs  of  equal  area  and  unequal  area                                                   Paints. 
Balanced  by  HUE,  VALUE,  and  CHROMA. 

9. 

QUANTITY  of  color. 
Triads  of  equal  area  and  unequal  area                                                Paints. 
Balanced  bv  HUE.VALUE,  and  CHROMA. 

Copyright,  1904,  by  A.  H.  Munsell. 


16 


COLOR  BALANCE  ILLUSTRATED 


PLAN  FOR  FIRST  YEAR. 


Three  short  lessons  of  fifteen  to  twenty 
minutes  per  week. 

Materials:  five  crayons  and  light  gray 
paper. 

To  learn  the  five  principal  hues:  to 
name  them  promptly,  match  them  with 
cards  and  crayons,  and  place  them  in  right 
order. 

Make  the  child  familiar  with  MIDDLE 
HUES,  and  contrast  middle  red,  yellow,  green, 

blue,  and  purple  with  the  strongest  red,  yellow,  and  blue.  Keep 
these  balanced  colors  in  sight,  as  cards,  crayons,  balls,  and 
common  objects,  and  spin  the  sphere  to  show  their  balance. 

Place  a  circle  of  middle  red  at  the  top  of  a  card  to  be  taken 
home,  asking  each  child  to  collect  similar  reds  to  be  fastened  on 
the  card.  Compare  the  samples  collected,  and  ask,  "Do  they 
match?"  First  note  the  like  colors,  then  the  unlike  ones,  asking, 
"What  difference  is  there?  Is  one  lighter  than  another?  is  one 
darker?  Is  one  stronger  or  weaker  than  another?"  (Terms 
"value"  and  "chroma"  may  wait  until  later.)  Which  is  most 
like  the  red  circle  among  all  the  samples,  such  as  a  rubber  ball, 
piece  of  coral,  autumn  leaf,  piece  of  cloth  or  paper,  or  stone  or 
glass? 

Then  find  middle  red  on  the  sphere,  imitate  it  with  the  red 
crayon,  and  use  it  in  a  simple  border  or  pattern  until  it  is  easily 
remembered  and  correctly  named. 


COLOR  BALANCE  ILLUSTRATED 


17 


Treat  middle  yellow,  green,  blue,  and 
purple  in  the  same  way,  and,  when  the  five 
cards  are  filled  with  samples,  place  them  in 
a  circle  to  learn  the  order  of  hues.  Show 
this  order  on  the  sphere,  and  devise  games 
with  the  fingers,  crayons,  cards,  etc.,  to 
fix  this  order  in  memory  (see  page  7). 

On  a  new  card  place  the  five  middle 
hues  in  a  circle,  and,  filling  one  with  the 
red  crayon,  ask,  "Which  color  comes 

next?"  and  so  on  until  each  child  has  made  the  set.  Spin  the 
sphere  until  the  middle  hues  all  melt  in  a  MIDDLE  GRAY,  and 
imitate  this  with  the  gray  crayon. 

Give  children  a  hectographed  outline  of  man  with  five  toy 
balloons  (one  may  substitute  a  bear  or  other  animal  in  place  of 
the  man),  and  let  them  fill  the  balloons  with  four  of  the  five 
colors,  asking,  Which  has  been  left  out  and  why? 

Give  a  rule  for  design.  Use  a  hue  and  its  two  neighbors  for 
likeness  (or  its  two  opposites  for  contrast).  Do  not  use  all  five 
together. 

The  six  cards  made  this  year  can  be  tied  in  order  into  a  small 
book  of  HUES  of  COLOR,  with  simple  design  on  cover.* 


*  See  Plate  II.,  page  62,  "Color  Notation." 


18 


COLOR  BALANCE  ILLUSTRATED 


A  LESSON  ABOUT  RED. 


Place  the  color  sphere  before  the  class, 
with  cards,  crayons,  and  balls  ready  for 
comparison,  and  give  the  child  a  red  crayon 
with  light  gray  paper,  after  he  learns  the 
name.  This  first  lesson  should  resemble 
a  game,  and  last  not  over  fifteen  minutes. 

Spin  the  sphere  until  it  becomes  neutral 
gray,  and  then  slow  it  down  until  the  colors 
flash  (seeming  to  float  over  the  surface 
and  be  brilliant).  This  will  fix  the  atten- 
tion and  excite  questions. 


Ask,  "What  do  you  see?  Colors?  What  colors?"  Red  is 
generally  noticed  first,  so  hold  up  a  large  red  card  (middle  red), 
and  ask,  "  What  else  has  this  color?  "  Apple,  tulip,  head  of  match, 
coral,  rubber  band,  lips,  and  cheek. 

Say,  "This  is  red"  "middle  red"  and  match  it  with  card,  ball, 
and  crayon.  Hide  something  of  this  color,  and  suggest  a  hunt 
for  it.  When  found,  hold  them  up  together,  and  call  them  red. 
Tell  a  story  that  brings  in  a  red  soldier,  doll,  or  sealing  wax,  and 
ask  child  for  other  reds,  which  are  not  "middle." 


COLOR  BALANCE  ILLUSTRATED 


19 


SECOND  LESSON  ON  RED. 


Give  hectographed  outline  of  simple 
figure,  such  as  bear,  sunbonnet  baby,  or 
rose,  to  be  filled  with  the  red  crayon  or 
partly  uncovered,  as  the  child  prefers. 
Place  these  in  a  row,  and  call  them  the  red 
family. 

Show  white  and  black  on  the  sphere,  and 
say,  "This  red  is  in  the  middle  between 
them."  Then  show  reds  that  are  lighter 
or  darker,  merely  to  emphasize  middle  red. 

Devise  a  game  with  the  red  ball,  and  then  show  it  against  the 
other  balls  and  the  sphere  to  contrast  red  with  the  other  hues. 

Give  child  a  card  with  a  circle  of  red  at  the  top,  to  be  taken 
home,  and  have  other  red  samples  added,  as  near  middle  red  as 
may  be  found.  (With  succeeding  cards  for  the  other  colors  this 
will  make  a  book  of  MIDDLE  HUES  during  the  year.) 

Likeness  is  first  sought,  "Can  we  find  another  like  this?  Is  it 
just  the  same?  What  difference  is  there?  Bring  all  that  look 
like  this." 

Name  is  then  learned,  using  stories  and  games  to  fix  it. 

Color  is  imitated  with  crayon  after  finding  it  on  sphere  and 
among  a  collection  of  the  cards  and  balls,  which  may  be  strung 
together  as  a  necklace  or  bracelet. 

(Teacher  should  fill  this  outline  as  best  fits  the  class). 


20  COLOR  BALANCE  ILLUSTRATED 


REVIEW  LESSON  ON  FIVE  MIDDLE  COLORS. 


Each  child  spreads  out  his  five  cards. 
Sphere  is  spun  to  show  balance  in  gray. 

Ask  what  objects  have  been  found  like 
the  middle  red,  and  how  they  differ. 

Same    for    yellow:    butterfly,    window- 
shade,  horse-blanket,  marble,  autumn  leaf. 

A  A     <J  /)  U  Same  for  green:  grass,  paroquet,  jade. 

Same  for  blue:  sky,  forget-me-not,  tur- 
quoise. 

Same  for  purple:  aster,  lilac,  grapes,  amethyst. 

Teacher  holds  out  a  box  with  color  balls  and  cards.  First  row : 
each  comes  and  takes  a  red  ball  away. 

Second  row:  does  the  same  with  yellow,  and  so  on  until  each 
child  has  a  color  ball.  Then  by  calling  for  groups  of  three  neigh- 
bors in  color,  with  each  of  the  five  in  turn,  the  class  may  exchange 
places.  Opposite  colors  may  then  be  grouped  in  the  same  way. 
This  is  to  illustrate  the  suggestion  on  page  7,  where  the  teacher 
puts  a  colored  cap  on  each  finger,  and  shows  which  are  neighbor- 
ing hues,  because  they  resemble  one  another,  and  which  are  oppo- 
site, because  they  contrast  each  other.  The  term  "complement" 
need  not  be  used,  nor  any  long  words,  such  as  "analogous," 
"dominant,"  or  "related." 


COLOR  BALANCE   ILLUSTRATED  21 

Devise  a  game  of  tag  or  of  merry-go- 
round  to  group  the  five  colors  in  order, 
and  then  disarrange  them,  so  that  the  chil- 
dren shall  rearrange  them  in  order.  Give 
hectographed  outline  of  five  candles  or  soap 
bubbles,  or  a  simple  sketch  for  the  child 
to  fill  in,  as  he  prefers,  using  four  of  the 
colors,  and  then  ask  why  the  fifth  is  left 
out,  and  compare  results  to  see  what  is 
liked  best  and  what  is  least  used. 

Ask  what  color  has  the  largest  field  in  the  sketch,  and  if  the 
child  would  have  preferred  another  hue  instead,  so  as  to  prepare 
for  the  mixtures  of  color  next  to  be  studied.  Some  may  have 
overrun  the  lines  or  purposely  mingled  two  crayons  in  filling  the 
shapes.  Ask  what  this  has  done  to  the  hue,  and  suggest  that  the 
two  names  can  be  joined,  as  yellow-red,  green-blue,  etc. 

Design  simple  border,  using  only  three  crayons, — a  hue  and 
its  neighbors  or  a  hue  and  its  opposites, — and  apply  this  to  cover 
of  the  first  year's  book  containing  the  collection  each  child  has 
made  for  the  FIVE  MIDDLE  HUES. 


22 


COLOR  BALANCE  ILLUSTRATED 


PLAN  FOR  SECOND  YEAR. 


Four  lessons  of  fifteen  to  twenty  minutes 
per  week. 

Materials:  crayons  and  light  gray  paper. 

To  learn  the  circuit  of  ten  HUES  and 
memorize  groups  of  NEIGHBORS  and  OPPO- 
SITES. 

Review  work  of  first  grade.     Place  three 
circles  at  top  of  a  card;    use  red  crayon 
to  fill  the  first,  yellow  crayon  to  fill  the 
last,  and  in  the  middle  circle  make  alter- 
nate strokes  of  red  and  yellow  as  close  together  as  possible,  to 
give  a  yellow-red  hue  at  a  short  distance.     Call  YELLOW-RED  a 
"between,"  or  intermediate,  hue,  and  write  it  by  its  initials  YR. 

Let  the  child  take  this  card  home,  and  hunt  for  like  color  in 
cloth,  paper,  wood,  buttons,  yarns,  and  magazine  covers,  then 
compare  the  collections,  and  ask,  "Which  matches  best  this  hue?" 

Then  ask:  "What  difference  is  seen?  Is  one  more  red  or  more 
yellow  than  another?  Is  it  lighter  or  darker,  weaker  or  stronger?  " 
This  prepares  for  a  later  study  of  value  and  chroma.  But  only 
the  hue  is  emphasized. 

Make  a  border  or  pattern  at  bottom  of  the  card,  using  red  and 
yellow  touches,  and  ask,  "What  hue  appears  when  they  are 
mixed?"  Correct  misnomers  (orange  or  geranium),  and  say, 
"This  is  yellow-red,  YR." 


COLOR  BALANCE  ILLUSTRATED 


Treat  green-yellow,  blue-green,  purple- 
blue,  and  red-purple  in  this  way,  until  the 
child  has  five  cards  holding  his  collection 
of  hues,  with  simple  patterns  made  of 

NEIGHBORS. 

Place  the  five  cards  in  a  circle  to  show 
the  order  of  ten  hues,  then  repeat  the  balloon 
man,  or  bear,  or  candles,  but  give  the  five 

"between  hues"  instead  of  the  principal         ^"^ • — ' 

hues.     The  teacher  may  easily  make  five 

conical  caps  for  the  fingers  from  semicircles  of  one  inch  radius, 
coloring  them  with  the  five  intermediates,  and  placing  them  in 
the  hollows  between  the  fingers,  while  the  five  of  the  previous 
year  are  set  on  the  finger  tips.  Learn  to  repeat  them  in  order, 
beginning  with  any  hue,  and  to  write  them  by  their  initials. 

On  a  new  card  draw  a  large  circle  divided  in  ten  steps,  and 
make  the  "between"  circles  smaller  or  behind  the  principal  hues.* 
Devise  a  game  to  fix  in  memory  the  "OPPOSITES,"  or  pairs  of 
complements  (not  using  the  long  word),  and  say  they  contrast 
each  other,  while  close  neighbors  are  very  like  each  other. 

Use  opposites  in  borders  or  rosettes  on  bowls,  towels,  and  card- 
board box.  Review  NEIGHBORS  and  OPPOSITES. 


[  See  Plate  II.,  page  62,  "Color  Notation.' 


24  COLOR  BALANCE  ILLUSTRATED 


PLAN  FOR  THIRD  YEAR. 


Black  and  gray  crayon  in  addition  to 
those  already  used,  on  gray  paper. 

To  learn  VALUES  of  color  and  gray,  com- 
monly called  "tints  and  shades,"  of  which 
the  middle  value  (5)  is  already  familiar. 

Review  work  of  second  grade,  using  the 
book  the  child  has  made  and  a  circle  of 
ten  hues.  Hang  up  a  large  neutral  scale, 
and  ask  which  of  the  steps  is  used  in  the 
circle  of  middle  hues. 

Place  MIDDLE  GRAY  in  the  centre  of  a  card,  writing  white  at  the 
top  and  black  at  the  bottom,  and  suggest  that  from  black  to 
middle  gray  and  from  middle  gray  to  white  are  long  steps.  Would 
it  not  be  easier  to  take  two  moderate  steps  instead  of  the  long  one? 
Help  the  child  to  find  a  gray  half-way  between  black  and  middle 
gray  and  another  above  half-way  to  white.  Ask  if  the  steps  all 
look  equal.  Which  of  them  should  be  changed?  These  values 
may  be  made  with  the  gray  and  black  crayon  on  loose  paper, 
and  pasted  on  the  card,  after  choosing  the  best  light  gray  and 
dark  gray  to  make  an  even  scale.  Say  it  is  like  the  cellar  steps  or 
a  man  climbing  a  ladder. 


COLOR  BALANCE  ILLUSTRATED 


Take  card  home  and  hunt  for  grays  to 
match  the  VALUE  SCALE.  Ask  if  they  are 
exactly  the  same.  Which  are  lighter? 
Which  are  darker?  Say  we  cannot  make  a  /  COLOR 
full  black  or  a  full  white  that  will  stand, 
so  that  practical  black  is  1  and  practical 
white  9,  the  steps  between  falling  at  3,  5, 
and  7.  Should  any  samples  fall  half-way 
between  these  values,  call  them  2,  4,  6,  or 
8.  (Ideal  white,  10,  and  ideal  black,  0,  are 
only  found  in  a  photometer.  See  page  40  of  "Color  Notation.") 

Design  a  ribbon  in  three  values, — first  with  strong  contrast 
(1,  5,  9),  then  with  small  steps  (4,  5,  6),  then  a  light  series  (7,  8,  9) 
and  a  dark  series  (1,  2,  3);  finally,  two  light  values  with  a  dark 
(3,  6-8),  using  twice  as  much  of  the  dark  to  balance  the  light 
values.  Illustrate  BALANCE  by  a  pair  of  scales,  and  CONTRAST 
by  day  and  night. 

Place  MIDDLE  RED  in  centre  of  card,  writing  white  above  and 
black  below,  and  ask  the  child  for  new  steps  of  red  half-way  to 
white  and  half-way  to  black,  calling  them  light  red  and  dark  red. 
Make  trial  mixtures  of  the  red  crayon  with  black  and  on  white 
paper,  from  which  the  best  are  chosen  for  the  card. 

Treat  this  red  card  and  its  fellows,  yellow,  green,  blue,  and 
purple,  as  was  done  with  the  gray  card.  Bind  these  in  a  book  of 

COLOR  VALUES. 


COLOR  BALANCE  ILLUSTRATED 


FOURTH  YEAR. 


This  grade  often  "marks  time,"  and  so  it  offers  leisure  to 
review  what  has  been  learned  of  HUES  and  VALUES,  with  a  side 
glance  at  chroma  when  it  is  noticed  in  the  child's  work,  but 
leaving  its  study  to  the  sixth  year. 

With  some  children  it  may  be  well  to  use  water  colors  *  in 
reviewing  hue  and  value,  and  in  that  case  the  accidents  of  drying 
will  force  attention  on  the  stronger  and  weaker  chromas. 

.The  crayons  may  be  used  in  copying  a  design  on  some  fabric, 
when  the  wax  can  be  fixed  by  pressure  with  a  hot  iron.  Esti- 
mates of  color  gained  from  the  fixed  hues  and  values  of  the  crayons 
may  be  widened  by  the  flexible  mixtures  of  water  color  and  design 
fitted  to  useful  objects,  such  as  bags,  book  covers,  blotters,  etc. 


1  Crayons  or  water  color,  as  teacher  thinks  best. 


COLOR  BALANCE  ILLUSTRATED  27 


FIFTH  YEAR. 


Materials:  water  colors  of  the  five  middle  hues,  with  gray  and 
black,  and  the  maxima  of  red,  yellow,  and  blue  for  contrast.* 

Each  of  the  ten  hues  should  be  given  a  scale  of  value  from 
black  (1)  to  white  (10),  using  loose  paper  and  selecting  the  smooth- 
est steps  for  pasting  on  cards.  The  ten  cards  are  then  laid  in 
order,  forming  a  COLOR  FIELD  (see  Chapter  VI.  of  the  "Notation"), 
and  the  idea  of  written  color  suggested. 

Green  should  first  be  given  the  centre  of  the  field,  but  an  amus- 
ing game  may  be  made  by  taking  each  hue  in  turn  as  a  centre. 

Through  the  green  centre  (G-r)  there  are  three  paths:  the  hue  path 

(horizontal)  to  red  on  one  side  and  purple  on  the  other  is  already 
familiar,  also  the  value  path  (vertical) ;  and  next  comes  the  slant  path 
(oblique)  from  dark  red  to  light  purple,  or  from  dark  purple  to 
light  red.  Each  hue  becomes  the  centre  in  turn. 

Three  steps  in  one  of  these  paths  may  be  taken  by  the  child 
to  fill  a  design, — first  with  wide  contrasts  and  then  with  small 
contrasts,  and  find  what  each  is  best  fitted  for  (latter  for  interior 
decoration  and  former  for  advertisement). 

Make  book  of  color  field  and  a  design  for  the  year's  work. 
A  few  good  Japanese  prints  will  prove  very  helpful. 

*  Crayons  or  water  color,  as  teacher  thinks  best. 


28  COLOR  BALANCE  ILLUSTRATED 


SIXTH  YEAR. 


Materials:    water  colors  and   light  gray 
paper. 

CHROMA,  already  noticed  in  the  varying 
strength  of  color  washes,  is  now  to  be  stud- 
ied  by  a  definite  scale  and  related  to  hue 
flf     and  value. 
^  Place  a  spot  of  middle  red  in  centre  of 

the  paper,  writing  white  at  top  and  black 
ji  at  bottom,  with  middle  gray  on  a  level  with 

the  red   at   the  left   edge   and   strong  red 
opposite  at  right-hand  edge. 

Ask  class  to  collect  all  the  reds  they  can  find,  and,  choosing  those 
nearest  middle  value,  arrange  them  from  weakest  near  gray  to 
the  strongest  at  the  right.  Say,  "This  is  CHROMA, — strength  of 
color," — and  distinguish  it  from  hue  or  value.  Ask  if  the  chroma 
steps  are  equal.  Why  not?  Which  is  too  great?  which  too  small? 
Which  is  half-way  from  gray  to  middle  red?  and  which  half-way 
to  strongest  red? 

Then,  taking  the  strong  red  paint,  weaken  it  by  additions  of 
middle  red  on  a  loose  sheet  until  the  proper  chroma  is  found 
and  placed  in  the  scale.  Then  mix  gray  with  middle  red  to  con- 
tinue the  scale,  and,  having  selected  the  best  steps  of  chroma, 
paste  them  on  the  sheet.  Make  a  chroma  sheet  for  each  of  the 
principal  hues,  and  select  three  chromas  for  a  design. 


COLOR  BALANCE  ILLUSTRATED 


SEVENTH  YEAR. 


CHROMA  continued,  with  the  same  ma- 
terials and  the  use  of  the  COLOR  ATLAS  in 
designing  balanced  masses  of  color.  Com- 
pose a  book  from  the  chromas  of  the 
previous  year. 

On  the  paper  place  a  circle  with  five 
equidistant  radii  (copied  from  the  Atlas), 
and  place  the  middle  colors  on  the  circle, 
adding  stronger  chromas  on  the  radii  pro- 
longed outside  as  far  as  the  pigment  allows. 

Add  gray  to  the  middle  colors  for  the  weaker  chromas  inside 
the  circle,  and  insist  that  all  these  scales  of  chroma  must  be  of 
middle  value,  neither  lighter  nor  darker. 

Select  three  colors, — a  middle  hue  with  a  stronger  neighbor  to 
one  side  and  a  weaker  to  the  other,  so  as  to  balance  on  the  middle 
hue, 

Select  a  strong  color  and  its  weaker  opposite,  making  the  area 
of  the  strong  accent  small  and  that  of  the  weak  opposite  large,* 
and  with  these  selections  decorate  some  object,  such  as  a  book- 
holder  (for  boys  using  wood),  or  a  work-bag  for  the  girls,  using 
cloth. 

Illustrate  BALANCE  by  pendulum,  scales,  tight-rope  dancer,  etc. 

*  See  Plate  III.,  "Color  Notation." 


30 


COLOR  BALANCE  ILLUSTRATED 


EIGHTH  YEAR. 


CHROMA  continued,  with  the 
study  of  CLOSE  NEIGHBORS  and 
EXACT  OPPOSITES;  also  accent 
and  balance. 

Chroma  scales  for  the  five  inter- 
mediate hues  are  to  be  made  and 
united  in  a  circle,  as  for  the  prin- 
cipal hues  in  the  preceding  grade. 
This  brings  out  unusual  color 
steps,  whose  rarity  is  of  interest. 


THE  COLOR  TREE  is  used  to  study  unbalanced  relations,  which 
are  then  corrected,  as  told  on  page  8.  BALANCE  may  be  made 
on  middle  gray,  as  in  the  case  of  yellow  (zinc  yellow)  with  purple- 
blue  (ultramarine),  or  lighter  and  darker  balances  on  neutral  gray 
(7)  and  neutral  gray  (3).  This  may  also  be  done  with  other  pairs, 
as  dark  green  with  light  purple-red  or  dark  red  with  light  blue- 
green,  and  the  reverse. 

ACCENT  is  taught  with  small  spots  of  strong  chroma  to  balance 
large  fields  of  weak  chroma,  taking  the  proportions  from  the 
charts  of  the  ATLAS,  using  the  Middle  Chart  (5)  with  Light  and  Dark 
Charts  (7  and  3).  Examples  sought  in  Art  and  Nature. 

Two  designs  to  illustrate  accent  and  balance. 


COLOR  BALANCE  ILLUSTRATED  31 


NINTH  YEAR. 


This  grade  becomes  the  first  year  of  high  school  in  many  courses, 
and  should  have  a  direct  bearing  on  the  cultivation  of  taste  in 
dress  and  interior  decoration. 

A  pasteboard  box,  whose  least  dimension  is  ten  inches,  may 
be  arranged  as  a  model  room  (the  ceiling  and  one  wall  hinged  to 
open),  the  pupils  uniting  to  design  all  the  forms  and  colors,  in- 
cluding furniture,  hangings,  floor  and  wall  covers,  as  a  practical 
study  of  unity  of  effect  with  balance  of  color.  (See  page  oppo- 
site.) 

The  color  scheme  is  then  recorded  by  the  notation,  and  a 
similar  plan  used  in  designing  a  costume  with  the  domination 
of  one  hue,  balanced  by  small  contrasting  accents. 

The  steps  of  color  training  and  memorization  by  definite  scales 
which  have  been  outlined  in  these  lessons  can  be  clearly  taught. 
The  average  child  carries  them  out  with  intelligent  pleasure 
instead  of  blind  fumbles  with  unknown  degrees  of  color.  Even 
the  rare  child  who  shows  pictorial  skill  gains  a  sure  foundation 
on  which  to  build  the  subtleties  of  aerial  color,  while  a  clever 
teacher  weds  these  exact  scales  to  Nature  Study  and  other  parts 
of  the  curriculum. 


115663 

32  COLOR  BALANCE   ILLUSTRATED 

AFTERWORD. 


Subtle  color  and  fine  music  appeal  to  feeling  rather  than  anal- 
ysis. An  unconscious  habit  of  discrimination  swifter  than  any 
thought  that  can  find  expression  in  words,  will  develop  in  those 
who  surround  themselves  by  refined  harmonies.  Thus  the  dec- 
oration of  the  school-room  and  the  colors  worn  by  the  teacher 
exert  a  more  powerful  influence  than  any  formal  instruction. 
"Example  is  stronger  than  precept." 

Neglect  to  employ  this  silent  but  continuous  pressure  toward 
the  wise  use  of  color  in  every-day  life  will  go  far  to  thwart  the 
aim  of  the  study.  Practical  applications  of  color  to  design  should 
take  precedence,  for  they  are  valuable  both  in  the  home  and  in 
commercial  or  industrial  work.  Picture-making  is  not  encouraged 
in  these  lessons,  since  its  intricacies  of  color  envelope  and  per- 
spective require  special  aptitude  and  a  long  training  quite  beyond 
the  scope  of  common  education.  It  does  not  fall  to  the  lot  of 
one  child  in  a  thousand  to  attempt  the  artist's  career,  yet  to  this 
rare  nature  the  measured  proportions  and  exact  exercises  are  as 
necessary  as  musical  scales  to  a  future  composer.  Finally,  re- 
member that  both  pupil  and  teacher  are  happier  in  doing  a  little 
very  well  rather  than  failing  in  too  ambitious  an  effort.* 

*  See  Appendix  to  Chapter  IV.  of  "Color  Notation." 


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